Sunday, 3 March 2013

Protecting the banks and destroying the people: the politics of capitalist consolidation

Poster by Luba Lukova       paperinkvoice
 
I find this to be one of the most interesting texts on the crisis: it is an interview given by David Harvey, Distinguished Professor of Anthropology and Geography at the Graduate Center of the City University of New York, to Marco Berlinguer and Hilary Wainwright. It is titled Their Crisis, Our Challenge and was published in the British magazine Red Pepper back in 2009. I am posting some key excerpts below, while on the same subject you may also see the talk David Harvey gave at the RSA, titled The Crises of Capitalism.

One of [...] [the] basic principles [of neoliberalism] [...] was that state power should protect financial institutions at all costs. This is the principle that was worked out in the New York City crisis in the mid-1970s, and was first defined internationally when Mexico threatened to go bankrupt in 1982. That would have destroyed the New York investment banks, so the US Treasury and the IMF combined to bail Mexico out. But in so doing they mandated austerity for the Mexican population. In other words, they protected the banks and destroyed the people - and this has been the standard practice in the IMF ever since. The current bailout is the same old story, one more time, except bigger.

[...] 

Which means you're not going to come out of this crisis with a crisis of the capitalist class; you're going to come out of this with a far greater consolidation of the capitalist class than there has been in the past. 

[...]

Many on Wall Street are thriving right now. Lazard's, because it specialises in mergers and acquisitions, is making megabucks. Some people are going to be burned, but overall it's a massive consolidation of financial power. There's a great line from Andrew Mellon (US banker, secretary of the treasury 1921-32), who said that in a crisis assets return to their rightful owners. A financial crisis is a way of rationalising what is irrational - for example, the immense crash in Asia in 1997-98 resulted in a new model of capitalist development. Disruptions lead to a reconfiguration, a new form of class power. 

[...]

Whether we can get out of this crisis in a different way depends very much upon the balance of class forces. [...] Finance capitalism could survive the crisis, but whether it does depends entirely upon the degree to which there is going to be popular revolt against what is happening, and a real push to try to reconfigure how the economy works.

[...]

The term 'national bail-out' is [...] inaccurate, because they're not bailing out the whole of the existing financial system - they're bailing out the banks, the capitalist class, forgiving them their debts, their transgressions, and only theirs.

The money goes to the banks, but not to the homeowners who've been foreclosed on, which is beginning to create anger. And the banks are using the money not to lend to anybody but to buy other banks. They are consolidating their power.

[...]
What I think is happening at the moment is that they are looking for a new financial set-up that can solve the problem not for working people but for the capitalist class. [...] The only thing they would care about is if we rose up in revolt. And until we rise up in revolt they are going to redesign the system according to their own class interests.
 

Friday, 1 March 2013

Flightless bird, grounded, bleeding

Drawing by Melissa Peterson 

As I'm not the greatest fan of indie folk, or the Twilight series for that matter, it took me some time to come across Flightless Bird, American Mouth by Iron and Wine this is the stage name of the singer/songwriter Samuel Beam. Apparently the song was selected by Kristen Stewart for the prom scene at the end of the first Twilight film, which I watched with considerable delay.

And so the song stayed with me; every time I come across a flightless bird, or when I become one myself, I find it soothing. Maybe it is because of its irresistible melody, or maybe it's just me reading too much into it; like being grounded and bleeding, and yet still hoping and struggling to fly away.

Any day now.


I was a quick-wit boy
Diving too deep for coins
All of your street light eyes 
Wide on my plastic toys
Then when the cops closed the fair
I cut my long baby hair
Stole me a dog-eared map
And called for you everywhere

Have I found you
Flightless bird, jealous, weeping
Or lost you
American mouth, big pill looming
 

Now I'm a fat house cat 
Nursing my sore blunt tongue
Watching the warm poison rats 
Curl through the wide fence cracks
Pissing on magazine photos
Those fishing lures thrown in the cold and clean
Blood of Christ mountain stream 

Have I found you
Flightless bird, grounded, bleeding
Or lost you
American mouth, big pill, stuck going down

Monday, 25 February 2013

We learned to whisper almost without sound


The above image was created by Anna and Elena Balbusso for a new edition of Margaret Atwood's pivotal novel The Handmaid's Tale; the title of the post is a quote from chapter one (New York: Anchor Books, 1986, p. 4).

Wednesday, 20 February 2013

If I sow a wind now, I will reap a storm


Katatonia's latest album Dead End Kings has rightly received wide critical acclaim, including rave reviews by the BBC and The Guardian. Inasmuch as it is interesting to see mainstream sites acknowledging that there is much more important music than the usual pack of style over substance, it seems to me that what matters the most remains unnoticed. Let me first turn to the band's guitarist and co-founder Anders Nyström, who was asked in an interview with the webzine Metalship about the meaning of the album's title, and replied as follows (my emphasis):

It hints at the position we’re currently at in our lives and career. We’ve been going for more than 20 years now, which is a long time indeed. And because of that fact many people expect us to be more successful in terms of fame and fortune. What they don’t realize is that just keeping a band alive for 20 years is the achievement of success itself and also having the firm belief to follow your own vision without compromising and conforming to other people’s demands and expectations would make you a king in what people would just define as a dead end. 

Dead End Kings is Katatonia's most progressive sounding effort, and it displays the merits of Jonas Renkse and Anders Nyström's songwriting to the fullest; but most of all, it is a celebration of the mentality outlined in the above excerpt. Katatonia are among the doom metal/gothic rock pioneers, and have contributed much to the genre's artistic integrity and musical evolution in the underground during the past two decades. And in this respect, Dead End Kings is more of an alternate version of success, understood as one's ability to express themselves on their own terms.

Last but not least, the album's artwork is by Travis Smith, a pivotal illustrator as well as a long term collaborator of the band; his images are available here. And the title of this post is of course a quote from the lyrics of The Racing Heart, my favourite track on Dead End Kings.




White sun
Spring of wealth
Come for a good time
It's not what I have
Vibrate

Life on the line
My racing heart
Your vacant mind
 

 
If I sow a wind now, I will reap a storm
You saw me sliding away from the sun
And tomorrow who will come
And put their hand over mine
Mine with the burning shape of a gun
 


Washed out
Soul of money
Couldn't keep the fire
It's not what I do
Vibrate
Life on the line
My racing heart
It's all I find
 


Inside the sickness
Rest
Inside the sickness
Rest
 


If I sow a wind now, I will reap a storm
You saw me sliding away from the sun
And tomorrow who will come
And put their hand over mine
Mine with the burning shape of a gun


Tuesday, 19 February 2013

Democracy and the eurozone crisis: quotes #8

Photograph: Thanassis Stavrakis/AP, Athens 12.02.2012   Time

[T]he purveyors of conventional wisdom forgot that people were involved. Suddenly, Spain and Greece are being racked by strikes and huge demonstrations. The public in these countries is, in effect, saying that it has reached its limit: With unemployment at Great Depression levels and with erstwhile middle-class workers reduced to picking through garbage in search of food, austerity has already gone too far [...].

Much commentary suggests that the citizens of Spain and Greece are just delaying the inevitable, protesting against sacrifices that must, in fact, be made. But the truth is that the protesters are right. More austerity serves no useful purpose; the truly irrational players here are the allegedly serious politicians and officials demanding ever more pain.